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REVERB USAGE IN MULTITRACK AUDIO MIXING

Year 2023, Volume: 8 Issue: 1, 116 - 133, 30.06.2023
https://doi.org/10.31811/ojomus.1309441

Abstract

In music production, reverbs are one of the most important sound processing tools that allow the timbre signature of indoor spaces to be created and added to the existing signal flow. Reverbs are frequently used in different stages of the creation of musical works, whether by professionals or novices, from recording to releasing. In recording technologies, acoustic (echo chambers-echo chambers) and electro-mechanical (spring reverb, plate reverb) reflection insertion methods were used in music production and even radio broadcasting before the 1950s. In the 1950s, tape technology, which allowed multi-channel sound recording, took its place in the studios of major record companies. Towards the 1970s, tape recorders became widespread due to the increase in the number of channels, their portability, and their cheapness. However, the increase in the number of channels made it inevitable to add room ambiance to the recordings. With the digital reverbs developed in the 1970s, more suitable reverb units began to be used in the music industry compared to the echo chambers in large studios, which are very costly to build. Over the years, reverberation algorithms and related hardware have been developed and today it has taken the form of an audio plug-in format used in computer-aided recording programs.
Since reverbs make the sound much larger and more appealing than other sound processing tools such as equalizers, compressors, and delays, reverbs are misused by novices. Therefore, the correct use of reverb is important for musicians interested in recording technologies. For this purpose, in this study, from the perspective of music production, the use of reverbs in multi-track recordings is described and explained through two basic scenarios where two and three reverbs are included in the signal flow.

References

  • Abel, JO. S., Berners D. P. ve Greenblatt, A. (2009, 9-12 Ekim) An emulation of the emt 140 plate reverberator using a hybrid reverberator structure. 127th Convention of AES, New York, USA.
  • Abel, J. S., Berners D. P., Costello, S., Smith, I. (2006, 5-8 Ekim) Spring reverb emulation using dispersive allpass filters in a waveguide structure. 121st Convention of AES. San Francisco, USA.
  • Allen, J. ve Berkley, D. (1979). Image method for efficiently simulating small-room acoustics. Journal of the Acoustical Society of America, vol. 65, 943–950.
  • Beranek, L. (2011). Concert hall acoustics. Architectural Science Review, 54(1), 5–14. doi:10.3763/asre.2010.0059
  • Burgess, R.J. (2014). The history of music production. Oxford University Press, New York.
  • Chen, TH. T. (2011, Ekim 20–23). A new golden age of recording. Engineering Brief 16, AES 131st Convention, New York, USA.
  • David, G. (2005). The art of mixing: A visual guide to recording, engineering, and production (2. Baskı), Thomson Course Technology, Boston.
  • Davis, JO. P. (1962). Practical Stereo Reverberation for Studio Recording. Journal of AES, 10(2),114-118. Delcourt, K., Zagala, F., Blum, A., Katz, B. G. (2019, 16-19 Ekim) What’s old is new again: Using a physical scale model echo chamber as a real-time reverberator. AES 147th Convention, New York, USA.
  • Durmaz, S. (2009). Müzik teknolojisi ve audio terimleri sözlüğü, Cinius Yayınları.
  • Everest, F. A. ve Pohlmann, K. C. (2022). Master Handbook of Acoustics. 7th ed. New York: McGraw Hill.
  • Fiehler, K., Schütz I., Meller T., Thaler L. (2015). Neural correlates of human echolocation of path direction during walking. Multisens Res. 28(1-2),195-226. doi: 10.1163/22134808-00002491
  • Flanagin V.L., Schörnich S., Schranner M., Hummel N., Wallmeier L., Wahlberg M., Stephan T., Wiegrebe L. (2017). Human exploration of enclosed spaces through echolocation. J Neurosci. 37(6), 614-1627. doi:10.1523/JNEUROSCI.1566-12.2016
  • Goudard, V. ve Müller, R. (2003), Real-time audio plugin architectures, IRCAM, p. 8 web: http://mdsp2.free.fr/ircam/pluginarch.pdf, (08/05/2023).
  • Izhaki, R. (2018). Mixing audio, (3. Baskı), Routledge.
  • Korkes, H. (1959, Ekim 5-9). Reverberation facilities at CBS radio. 11th Annual Meeting, AES. New York, USA.
  • Moorer, J. A. (1979). About this reverberation business, Computer Music Journal, vol 3, 13–18.
  • Owsinski, B. (2013). The mixing engineer's handbook (3. Baskı). Cengage Learning PTR.
  • Önen, U. (2016). Miks üzerine, müzik prodüksiyonunda miks teknikleri ve çeşitli yaklaşımlar (1. Baskı), Çitlembik yayınları.
  • Putnam, M. T. (1980, 6 Mayıs). A thirty-five year history and evolution of the recording studio. 66th Convention of AES, New York, USA.
  • Reiss, J.D. ve McPherson, A. (2015). Audio Effects: Theory, Implementation and Application, (1. Baskı). CRC Press. https://doi.org/10.1201/b17593
  • Rettinger, M. (1957). Reverberation chambers for broadcasting and recording studios. Journal of AES, 5(1), 18-22.
  • Savioja, L., Välimäki V., Smith, JU. O. (2011). Audio signal processing using graphics processing units. Journal of Audio Engineering Society, 59(1/2), 3-19
  • Schüller, D. (1993, Mart 16-19). Early stereo recordings on magnetic tape (1943/1944) and their state of preservation. AES, 94th Convention, Berlin, Almanya.
  • Schroeder, M. R. (1961). Improved quasi-stereophony and “colorless” artificial reverberation. Journal of Acoustic Society of America, 33(8), 1061–1064.
  • Schroeder, M. R. (1962). Natural-sounding artificial reverberation. Journal of Audio Engineering Society.10(3), 219–223.
  • Senior, M. (2011). Mixing secrets for the small studio (1. Baskı), Focal Press.
  • Sutheim, P. (1989). An Afternoon with Bill Putnam. Journal of AES, 37(9), 723–30.
  • Swindali, T. (2022). Music Production For Beginners 2022+ Edition: How to Produce Music. https://www.amazon.com/Music-Production-Beginners-2022-Songwriters/dp/B09T347PLY
  • Välimäki, V., Parker J., Savioja, L., Smith, J. O., Abel, J. (2016, 27 Ocak). More than 50 years of artificial reverberation. AES 60th International Conference: DREAMS (Dereverberation and Reverberation of Audio, Music, and Speech), Leuven, Belgium.

ÇOK KANALLI SES MİKSAJINDA REVERB KULLANIMI

Year 2023, Volume: 8 Issue: 1, 116 - 133, 30.06.2023
https://doi.org/10.31811/ojomus.1309441

Abstract

Müzik prodüksiyonunda reverbler kapalı mekanların tınısal imzası olan yansışımın/yankılamanın oluşturulması ve mevcut sinyal akışına eklenmesine olanak sağlayan en önemli ses işleme araçlarıdır. Reverbler müzik eserlerinin yaratılma süreçlerinde ister profesyonel isterse amatörler tarafından olsun kayıt ve yayınlanma aşamalarına kadar farklı aşamalarda sıklıkla kullanılır. Kayıt teknolojileri tarihinde, 1950’lerden önce akustik (eko odaları-echo chambers) ve elektro-mekanik (spring reverb, plate reverb) yansışım ekleme yöntemleri müzik prodüksiyonu ve hatta radyo yayıncılığında kullanılmaktaydı. 1950’lerde çok kanallı ses kaydına izin veren teyp teknolojisi büyük plak şirketlerinin bünyesindeki stüdyolarda yerlerini almıştır. 1970’lere doğru teyp kaydedicilerin kanal sayılarının ve taşınabilirliklerinin artması, fiyatlarındaki ucuzlama nedeniyle iyice yaygınlaşmışlardır. Ancak kanal sayısının artması kayıtlara oda ambiyansı eklemeyi bir ihtiyaç haline getirmiştir. 1970’lerde geliştirilen sayısal reverbler ile müzik endüstrisinde büyük stüdyolarda bulunan ve yapımı oldukça maliyetli eko odalarına göre daha uygun reverb üniteleri kullanılmaya başlanmıştır. Yıllar içerisinde sayısal yansışım algoritmaları ve kullanıldıkları donanımlar geliştirilerek günümüzde bilgisayar destekli kayıt programlarında kullanılan audio plugin formatı şeklini almıştır.
Reverbler müziği duysal açıdan ekolayzır, kompresör, delay gibi diğer ses işleme araçlarına göre olduğundan çok daha büyük gösterdikleri ve çekici hale getirdikleri için özellikle amatörler tarafından sıklıkla yanlış kullanılır. Bu nedenle doğru reverb kullanımı kayıt teknolojileri ile ilgilenen müzisyenler için önemlidir. Bu amaçla bu çalışmada, müzik prodüksiyonu perspektifinden çok kanallı kayıtlarda reverb kullanımını iki ve üç reverbün sinyal akışına dahil edildiği iki temel senaryo üzerinden tarif edilerek açıklanmıştır.

References

  • Abel, JO. S., Berners D. P. ve Greenblatt, A. (2009, 9-12 Ekim) An emulation of the emt 140 plate reverberator using a hybrid reverberator structure. 127th Convention of AES, New York, USA.
  • Abel, J. S., Berners D. P., Costello, S., Smith, I. (2006, 5-8 Ekim) Spring reverb emulation using dispersive allpass filters in a waveguide structure. 121st Convention of AES. San Francisco, USA.
  • Allen, J. ve Berkley, D. (1979). Image method for efficiently simulating small-room acoustics. Journal of the Acoustical Society of America, vol. 65, 943–950.
  • Beranek, L. (2011). Concert hall acoustics. Architectural Science Review, 54(1), 5–14. doi:10.3763/asre.2010.0059
  • Burgess, R.J. (2014). The history of music production. Oxford University Press, New York.
  • Chen, TH. T. (2011, Ekim 20–23). A new golden age of recording. Engineering Brief 16, AES 131st Convention, New York, USA.
  • David, G. (2005). The art of mixing: A visual guide to recording, engineering, and production (2. Baskı), Thomson Course Technology, Boston.
  • Davis, JO. P. (1962). Practical Stereo Reverberation for Studio Recording. Journal of AES, 10(2),114-118. Delcourt, K., Zagala, F., Blum, A., Katz, B. G. (2019, 16-19 Ekim) What’s old is new again: Using a physical scale model echo chamber as a real-time reverberator. AES 147th Convention, New York, USA.
  • Durmaz, S. (2009). Müzik teknolojisi ve audio terimleri sözlüğü, Cinius Yayınları.
  • Everest, F. A. ve Pohlmann, K. C. (2022). Master Handbook of Acoustics. 7th ed. New York: McGraw Hill.
  • Fiehler, K., Schütz I., Meller T., Thaler L. (2015). Neural correlates of human echolocation of path direction during walking. Multisens Res. 28(1-2),195-226. doi: 10.1163/22134808-00002491
  • Flanagin V.L., Schörnich S., Schranner M., Hummel N., Wallmeier L., Wahlberg M., Stephan T., Wiegrebe L. (2017). Human exploration of enclosed spaces through echolocation. J Neurosci. 37(6), 614-1627. doi:10.1523/JNEUROSCI.1566-12.2016
  • Goudard, V. ve Müller, R. (2003), Real-time audio plugin architectures, IRCAM, p. 8 web: http://mdsp2.free.fr/ircam/pluginarch.pdf, (08/05/2023).
  • Izhaki, R. (2018). Mixing audio, (3. Baskı), Routledge.
  • Korkes, H. (1959, Ekim 5-9). Reverberation facilities at CBS radio. 11th Annual Meeting, AES. New York, USA.
  • Moorer, J. A. (1979). About this reverberation business, Computer Music Journal, vol 3, 13–18.
  • Owsinski, B. (2013). The mixing engineer's handbook (3. Baskı). Cengage Learning PTR.
  • Önen, U. (2016). Miks üzerine, müzik prodüksiyonunda miks teknikleri ve çeşitli yaklaşımlar (1. Baskı), Çitlembik yayınları.
  • Putnam, M. T. (1980, 6 Mayıs). A thirty-five year history and evolution of the recording studio. 66th Convention of AES, New York, USA.
  • Reiss, J.D. ve McPherson, A. (2015). Audio Effects: Theory, Implementation and Application, (1. Baskı). CRC Press. https://doi.org/10.1201/b17593
  • Rettinger, M. (1957). Reverberation chambers for broadcasting and recording studios. Journal of AES, 5(1), 18-22.
  • Savioja, L., Välimäki V., Smith, JU. O. (2011). Audio signal processing using graphics processing units. Journal of Audio Engineering Society, 59(1/2), 3-19
  • Schüller, D. (1993, Mart 16-19). Early stereo recordings on magnetic tape (1943/1944) and their state of preservation. AES, 94th Convention, Berlin, Almanya.
  • Schroeder, M. R. (1961). Improved quasi-stereophony and “colorless” artificial reverberation. Journal of Acoustic Society of America, 33(8), 1061–1064.
  • Schroeder, M. R. (1962). Natural-sounding artificial reverberation. Journal of Audio Engineering Society.10(3), 219–223.
  • Senior, M. (2011). Mixing secrets for the small studio (1. Baskı), Focal Press.
  • Sutheim, P. (1989). An Afternoon with Bill Putnam. Journal of AES, 37(9), 723–30.
  • Swindali, T. (2022). Music Production For Beginners 2022+ Edition: How to Produce Music. https://www.amazon.com/Music-Production-Beginners-2022-Songwriters/dp/B09T347PLY
  • Välimäki, V., Parker J., Savioja, L., Smith, J. O., Abel, J. (2016, 27 Ocak). More than 50 years of artificial reverberation. AES 60th International Conference: DREAMS (Dereverberation and Reverberation of Audio, Music, and Speech), Leuven, Belgium.
There are 29 citations in total.

Details

Primary Language Turkish
Subjects Music Technology and Recording
Journal Section Research article
Authors

İsmet Emre Yücel 0000-0001-7018-3349

Publication Date June 30, 2023
Published in Issue Year 2023 Volume: 8 Issue: 1

Cite

APA Yücel, İ. E. (2023). ÇOK KANALLI SES MİKSAJINDA REVERB KULLANIMI. Online Journal of Music Sciences, 8(1), 116-133. https://doi.org/10.31811/ojomus.1309441